This thesis analyzes the interaction of three primordial circular concepts in the formation of the literary identity of Jorge Luis Borges: the English language, intertextuality, and translation. The allegory of concentric circles facilitates the explanation of the complexity of these processes that intertwine and interact expanding to the infinite. This is not only a metaphor but also a metaphysical dilemma which Borges has utilized to explain time not as an absolute progression where a before and after are feasible but rather as a cyclical idea in which the return and the repetition are eternal. The three key concepts will be analyzed, using as an example, a short story by one of the English writers who Borges has cited and translated, Gilbert Keith Chesterton, "The Three Horsemen of Apocalypse." Borges translated Chestertons tale prior to writing "The Garden of Forking Paths," and this thesis demonstrates how we may discern Chesterton's influence on the Argentine's fiction, particularly within the genre of the detective story. / by Susana Beatriz Carlino. / Abstract in English. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2012. Mode of access: World Wide Web.

Made available in DSpace on 2014-06-12T17:39:33Z (GMT). No. of bitstreams: 2 arquivo6919_1.pdf: 4119217 bytes, checksum: 3f1efa22858eeae0d86c8392becd8174 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2007 / Códigos baseados em matrizes esparsas têm desempenhado um importante papel em teoria da codificação. Os códigos low-density parity-check (LDPC) constituem uma famosa família de códigos definidos a partir de matrizes de verificação de paridade esparsas que apresentam desempenhos excelentes no canal com ruído aditivo Gaussiano branco (RAGB). O sucesso desses códigos se deve a sua representação através de grafos, que permite a operação de um algoritmo de decodificação iterativo cuja complexidade cresce linearmente com o comprimento dos blocos. Esta dissertação apresenta um estudo sobre códigos LDPC e sua principal ferramenta de análise, a density evolution. Para isso, a representação gráfica de códigos de bloco lineares e o funcionamento do algoritmo de decodificação Soma-Produto são apresentados. Algumas técnicas de projeto de códigos LDPC são discutidas e seu desempenho no canal RAGB é avaliado por meio de simulações. Baseando-se nestas ferramentas, a density evolution para os canal RAGB é derivada em forma integral e em forma aproximada. Por fim, uma modificação no algoritmo Soma-Produto é proposta para decodificação de códigos LDPC no canal Gilbert-Elliott

Made available in DSpace on 2014-06-12T17:39:59Z (GMT). No. of bitstreams: 2 arquivo6995_1.pdf: 1049176 bytes, checksum: b3a6f8f79054249102563aaaf90c2d98 (MD5) license.txt: 1748 bytes, checksum: 8a4605be74aa9ea9d79846c1fba20a33 (MD5) Previous issue date: 2004 / O presente trabalho desenvolve modelos de canais de estados finitos (CEF) para um sistema de comunicação discreto, composto por um modulador digital, um canal com desvanecimento plano (Rayleigh ou Rice) correlacionado no tempo e um demodulador, bem como estuda as propriedades de correlação do processo de desvanecimento para analisar o desempenho de protocolos de solicitação de retransmissão automática (ARQ, do inglês automatic repeat request) em canais CEF. O modelo CEF irá representar os sucessos e erros na transmissão de símbolos em um canal com desvanecimento, o qual é representado matematicamente como uma seqüência de erro binária. Dois modelos de canais CEF comumente usados para caracterizar canais com desvanecimento serão considerados: o modelo de Markov de K-ésima ordem e o modelo Gilbert-Elliott (GEC). Será desenvolvida uma nova expressão analítica para o cálculo da vazão do esquema GBN (do inglês Go-Back-N) do protocolo ARQ para transmissão em canais CEF. A partir da comparação das curvas de vazão obtidas por simulação e as obtidas analiticamente para modelos CEF, serão determinadas faixas de parâmetros do sistema de comunicação nas quais o canal discreto pode ser aproximado por algum modelo CEF considerado neste trabalho. Os resultados obtidos avaliam a influência de diversos parâmetros do canal móvel no desempenho do sistema de comunicações

Cette recherche vise à montrer que, dans le contexte actuel d'une mobilité croissante, les artistes développent un nouveau rapport à la ville marqué par un déplacement de la figure moderne du flâneur vers ce que nous appelons la figure contemporaine du marcheur. Notre démonstration s'appuie sur trois artistes : Francis Alÿs, Gabriel Orozco et Gilbert Boyer. Si la modernité identifiait le flâneur comme paradigme de la mobilité des villes, le contexte contemporain appelle à une réévaluation de cette figure. Les pratiques artistiques de la mobilité se définiraient comme création où l'artiste se met en autoreprésentation. Le corps devient le point de départ, le centre et le matériau de l'œuvre qui, en pleine action, en plein mouvement, se redéfinit sans cesse. Partant des travaux de Walter Benjamin, la figure du flâneur est reconsidérée à la lumière d'auteurs contemporains (Régine Robin, Thierry Davila, Michel de Certeau) qui ont soulevé la nécessité de la redéfinir. C'est par une analyse des œuvres que la marche se révèle comme un véritable geste artistique qui intègre le quotidien. Nous étudions ensuite le contexte dans lequel ces pratiques artistiques prennent forme : l'hétérogénéité de la ville et ce que Marc Augé a nommé la surmodernité. En marchant, les artistes transforment potentiellement les non-lieux caractérisés par l'éphémère, le mouvement, l'absence de récit et de mémoire, en des lieux au sens anthropologique du terme. Si ces caractéristiques de la ville représentaient pour le flâneur le moyen de disparaître dans la foule, elles représentent aujourd'hui pour les artistes la possibilité de s'inscrire dans l'espace. Pour étudier cette transformation, nous identifions et analysons trois formes d'inscription : la trace, l'empreinte et la collecte. Celles-ci nous amènent à envisager, non seulement un nouveau rapport à l'espace, mais aussi au temps. La trace marque le parcours de l'artiste et établit un lien avec la mémoire de la ville. L'empreinte capte le parcours de l'artiste et en permet une reconstitution poétique. La collecte déplace les fragments de la ville et permet de constituer une archive des promenades et de mettre en jeu différentes expériences anachroniques du temps : le temps de la marche, le temps du passage, le temps de l'exposition. Ce nouveau rapport à la ville au « ras du sol » qui caractérise le marcheur contemporain instaure donc un nouveau rapport à l'espace, hétérogène, et au temps, anachronique. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : art et ville, flânerie, marche, Francis Alÿs, Gabriel Orozco, Gilbert Boyer

This dissertation deals with (a) fine granularity video compression technique and (b) its application to robust video transmission over wireless Internet. First, two wavelet-domain motion estimation algorithms, HMRME (Half-pixel Multi-Resolution Motion Estimation) and HSDD (Hierarchical Sum of Double Difference Metric), have been proposed to give wavelet-based FGS (Fine Granularity Scalability) video encoder with either low-complexity or high-performance features. Second, a VLSI-friendly high-performance embedded coder ABEC (Array-Based Embedded Coder) has been built to encode motion compensation residue as bitstream with fine granularity scalability. Third, the analysis of loss-rate prediction over Gilbert channel with loss-rate feedback, and several optimal FEC (Forward Error Correction) assignment schemes applicable for any real-time FGS video transmission system will be presented in this dissertation. In addition to those theoretical works mentioned above, for future study on embedded systems for wireless FGS video transmission, an initiative FPGA-based MPEG-4 video encoder has also been implemented in this work.

L'objet de cette thèse est de modéliser et d'étudier des structures d'irrigation telles les nervures des feuilles, réseau sanguin, poumons,etc. Un modèle généralisant le problème de Gilbert Steiner est introduit ; on étudie alors les propriétés d'existence, de stabilité et régularité. Des algorithmes sont alors proposés pour la simulation.

Thesis (Ph. D.)--Florida State University, 1973. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves [170]-177).

Gilbert Stuart completed the portrait of the new bride, Elizabeth Patterson Bonaparte, as well as portraits of 15 other women during his Washington period from late 1803 to early 1805. Scholars have often discounted this period in Stuart's work for its "compositional simplicity" and repeat choice of a stock white dress for the portraits of many of these women. But to dismiss this period is Stuart's work is to dismiss a period when Stuart positioned himself in the center of the "first circle" in Washington, a circle that included Dolley Madison and her most ambitious friends. Women, in this era after the American and French revolutions, had the freedom to enter into the public discourse. They were liberated from many of the more conservative principals of the early colonial period, shedding their restrictive clothing in the process. Stuart's salon, a highly visible public venue, as well as his ability to portray the strength of character and a direct, forthright gaze of the American woman, all made him extremely popular with women. Stuart, a critical force within the construction of a new image for this Nation, based on Jeffersonian ideas of republicanism, based his practice on simple, natural design influences. My goal is to more thoroughly examine Stuart's decisions in composing Betsy Bonaparte's portrait, as well as the facts surrounding her marriage to Napoleon Bonaparte's youngest brother. I will then consider why Elizabeth Bonaparte's wedding portrait represents the chef d'ouvre of his work during this period and how the young bride served as his muse, influencing his Washington style, and the women who followed her into the painter's studio. / text

Over the last fifty years or so, historians have largely neglected Gilbert Foliot, the man who was Bishop of London during the 1160s and 1170s, as representative of any larger theoretical position, dismissing his famous polemic letter Multiplicem nobis as the product of envy and thwarted ambition. In this dissertation I argue that Gilbert Foliot was neither out of step with the attitudes of his contemporaries nor driven blindly by anger and envy. Rather, his position was the result of legal training combined with his experience as a cleric in the tumultuous years of twelfth century England. Foliot’s legal training inculcated in him a political theory stressing a bifurcated authority structure in which the clerical and lay “swords” would be drawn to complement one another, but were at the same time necessarily separate and independent. Thus he believed that the Church’s success in its goal of saving souls was reliant on the goodwill and protection of an effective and powerful king. During the Anarchy of King Stephen’s reign, Foliot urged his clerical brethren to unleash the sword of excommunication against barons who committed crimes, and he was frustrated by the lack of coercive power he felt King Stephen ought to have exercised over the rebellious knights who terrorized the countryside. Later, during the reign of Henry II, Foliot feared that the archbishop’s new insistence on clerical superiority would limit the king’s lawful coercive power, while pushing the king to work against the Church rather than with it. Foliot, the jurist, found the archbishop’s argument not only ill-advised, but legally illegitimate and dangerous. Thus Foliot’s diatribe in Multiplicem should be understood not simply as a moment of anger, but as representative of a valid strain of thought in the English clergy, and that the attitude toward the crown on the part of churchmen was more dynamic than historians have recognized. / text

In 1800, Gilbert Stuart began three paintings of his friend, republican writer, Sarah Wentworth Apthorp Morton--the Worcester, Winterthur, and Boston portraits. While Morton has been remembered more for a tragic personal family scandal than for her literary endeavors, Stuart's provocative images acknowledged her as both a poet and an intellect. His portraits presented a progressive and potentially controversial interpretation of his sitter--the lovely and learned Morton--by prioritizing the writer's life of the mind rather than her socially prescribed life in the world. This study reconstructs the circumstances by which Stuart composed the group of Morton paintings that culminate in his unorthodox Worcester rendering through which he ultimately depicted Morton as the first woman of ideas in American art. Supported by close readings of her work, this dissertation illuminates both the course and depth of the exceptional personal and professional relationship between Morton and Stuart. The paths of the two republican figures crossed at several historic junctures and is highlighted by the interconnectivity of their work. Most significantly, the Stuart portraits represent an ideal lens through which to view Morton's life and work as well as to follow the Boston native's transformation into one of America's earliest women of ideas. / text